realize how much we distort their originality and how much we cloy our modern world with mutated “masterpieces”, which take over the vital space of new creation. The cybernetic era we have entered, provide us with new media, which extend our brain functions. These meta-tools and universal machines should not be treated as limb-extended instruments but as brain-extended organisms, which mirror our cognitive abilities. I think this is a fundamental difference between the old and new media, and it will take decades of digestion, until Art will completely adapt to the new world. What is the role of computer-based techniques in your composition process? Do you still use an acoustic approach and then manage the evolution of the ideas you develop through high end technology or does your approach blends these apparently different approaches?
The complex systems I create have two components, a dynamic system, which is realized with digital technology, and the human agency (performers). The dynamic system receive input information (sound, image) from the performers and results to very complex, indeterministic and chaotic behavior. The performers have to react on the variable output of the dynamic system according to a set of rules of possible actions I provide (instructions, score). The resulting complex system (dynamic system ↔ human agency) is a coupled feedback system, with both components feeding with information each other. I describe these situations as “games” and the resulting artworks as “game pieces”. My approach has a hybrid form for now, since there are lots of fixed events involved. My future goal is to make both components of the complex system 100% dynamic. Real-time digital signal processing algorithms, acoustic properties of the set up and human agency, with it's acoustic instrumental extensions, are all conceived together in initial phase.
der to assign to them unintended modern functionality. We use modern media to massively communicate them (for example recordings and amplification) but we don't
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